Despite being a fairly young industry and market, the video game sphere has gone through enormous changes over the past couple of decades. As hardware evolved, so did games, getting continuously replaced by better versions and updated systems, with older ones eventually fading into the background. And with this came a problem. Now, even games that were definitive of a generation can’t be revisited due to the hardware they were originally intended for being discontinued or becoming obsolete, not to mention the huge number of hidden gems that are on the edge of becoming lost media. With movements like Stop Killing Games gaining global attention, the role of video game preservation is more important than ever.
GOG.com, formerly known as Good Old Games, is a digital distribution platform and subsidiary of CD Projekt, Poland-based game developer known for the Witcher and Cyberpunk series. Since its launch in 2008, GOG has been focusing on preservation and redistribution of old games for modern PCs, alongside publishing new AAA and indie titles. AUTOMATON recently got together with Piotr Gnyp, senior PR rep of GOG, who talked to us about the GOG Preservation Program, sharing some insight into how games are preserved, what it takes for a retro game to be added to GOG’s catalog and whether we can expect more Japanese titles within the program.
The ultimate destination for classic games, wherever they come from
—Could you please give us an overview of what the GOG Preservation Program and GOG Dreamlist are? How did you come up with the idea of starting these programs?
Piotr Gnyp (hereafter Gnyp):
The GOG Preservation Program and the GOG Dreamlist are two pillars of our long-term mission to preserve gaming history and keep classic titles alive for future generations.
Preservation has been part of GOG’s DNA from the start. DRM-free distribution, Offline Installers, and a curated catalog of classic games were always central to what we do. But a couple of years ago, we ran an internal review of our classic catalog and realized that some titles weren’t running as smoothly as we’d assumed. That prompted a hard question: what does real preservation mean in practice?
That’s how the GOG Preservation Program was born. It’s our commitment to make any game included in the Program playable on modern systems, even if official support ends or the game is delisted from GOG. We proactively update titles, fix compatibility issues, and, thanks to our in-house wrappers and tech, add features that weren’t available at launch: controller support, multi-monitor support, higher resolutions, alt-tab stability, cloud saves, and more. And we do all of this without altering the original experience.
We think this gives our users the best value in the market for preserved games, a version that’s both faithful and future-proof. We currently have over 200 games in the program, aiming for around 350 by the end of the year, and the goal is to eventually cover our entire retro catalog.
Gnyp:
As for the GOG Dreamlist, that’s our way of letting the community help shape preservation priorities. It’s an upgraded, community-driven wishlist where players can vote for games they want to see preserved and re-released. But more than that, they can also share personal memories tied to those games. And these stories matter: there have been cases where emotional posts from players tipped the scales during negotiations with IP holders. That’s what makes the Dreamlist so powerful; it’s not just a poll, it’s a cultural signal.
So, while we handle the legal, technical, and business hurdles, the GOG Dreamlist reminds everyone, publishers included, why these games matter in the first place.
—Regarding the GOG Dreamlist, if a game gets a lot of votes, will GOG negotiate with the publisher to release it? Or does the program just show demand from fans to publishers?
Gnyp:
The GOG Dreamlist is both a compass for us and a signal for rightsholders. When a game gets a lot of votes, especially accompanied by powerful personal memories from players, it helps us show publishers that there’s still a passionate audience for their classic titles.
But it’s important to remember: GOG has been doing this for well over a decade, and we’re constantly reaching out to secure iconic games. Sometimes, it takes years. Diablo came to GOG after almost a decade of conversations. Preservation often means knocking on the same doors again and again, hearing “no” most of the time, until one day, it’s finally a “yes.”
So yes, every vote and story helps, but the road from the Dreamlist to GOG release can be long and unpredictable. That’s just the reality of bringing lost classics back to life.
—The GOG Dreamlist includes games that currently only exist on consoles, as well as games that we can’t imagine being released on PC, such as Nintendo games. What is the point of including them on the list?
Gnyp:
Right now, GOG is focused on PC games, but that doesn’t mean we plan to stop there. Our long-term ambition is to become the ultimate destination for classic games, wherever they come from.
And let’s be honest: if PC games are getting ported to consoles all the time, why shouldn’t it happen in reverse, too? We’re already seeing new PlayStation titles, like God of War or Horizon Zero Dawn, appear on GOG, which shows that some shifts are already happening in the industry.
Add to that the evolving landscape of console emulation, and the idea of playing old console titles on PC becomes much more feasible than it was even a few years ago.
So yes, even if some Dreamlist entries may seem far-fetched today, they reflect a real desire from our community. And to us, that’s always worth listening to.
A cultural and industry priority
—Through the GOG Preservation Program, nostalgic masterpieces are being released. What kind of exchanges do you have with the publishers to make the release happen? Can you give us an example of your negotiations with Capcom, which recently released Resident Evil and Dino Crisis on GOG?
Gnyp:
While we can’t go into details due to confidentiality restrictions, we can say that bringing classic Capcom titles like Resident Evil and Dino Crisis to GOG took time, persistence, and trust-building.
Working with Japanese partners often requires demonstrating both technical capability and cultural understanding. In this case, Capcom treated these launches as full new releases, so we followed a complete QA and certification process, just like we would for a brand-new game.
We’re proud that the results exceeded expectations. Both Resident Evil and Dino Crisis have been extremely well-received on GOG, each with over 90% positive user ratings. That kind of reception shows that trust was well placed, and we hope it opens the door for more collaborations of this kind in the future.
—Who is in charge of porting old games to Windows 11/10? Is it the original developer or GOG? Also, games on GOG like Resident Evil and the DINO CRISIS series have been added with graphic options and various improvements. How did this come about?
Gnyp:
It depends on the title. In some cases, we collaborate with external partners or original developers, but in most cases, it’s GOG handling the porting and compatibility work.
When a game becomes part of the GOG Preservation Program, that means we’ve taken full responsibility for making it work on modern systems, including Windows 10/11 compatibility, stability improvements, and additional features like graphics options, controller support, alt-tab, multi-monitor handling, and cloud saves.
Our internal tech team analyzes each game, builds custom wrappers or tools when needed, and thoroughly tests the result. That’s how we make sure the experience is authentic but also practical for today’s players.
—Is the Program a profitable business for GOG? How do you share revenue with the publisher?
Gnyp:
The GOG Preservation Program serves multiple goals. Of course, it needs to be financially viable, but just as importantly, it raises awareness and promotes the importance of game preservation as a cultural and industry priority.
We’re satisfied with the results, and so are our partners. That’s largely thanks to over a decade of experience and custom in-house tools that help us optimize costs and streamline the porting process to the point where we’d argue we’re among the best in the world at it.
As for revenue sharing, our revenue share follows standard industry practices.
Even more Japanese classics on GOG?
—Konami games labeled as part of the GOG Preservation Program, such as METAL GEAR SOLID and Silent Hill 4: The Room, are not available for purchase in Japan. What is the reason for this? Is there a possibility that they will be released here in the future?
Gnyp:
GOG is a global distribution platform, and we believe that preserved classics should be accessible to as many players as possible.
However, decisions regarding regional availability are ultimately made by the rights holders and can be impacted by various factors, such as licensing or ratings. We, of course, would love to see GOG builds made available to fans everywhere, including Japan, but we fully respect our partners’ licensing considerations.
—How does GOG view the Japanese market? What percentage of the total number of users are currently Japanese? Also, in order to increase awareness and usage of GOG.com in Japan, do you have any plans to make the website, including GOG Dreamlist, available in the Japanese language or to sell games in Japanese yen?
Gnyp:
Right now, GOG’s main markets are Western Europe and the United States, but that doesn’t mean we aren’t looking East.
Japan is home to some of the most iconic franchises in gaming history, and we’re fully aware of how important the region is for anyone serious about game preservation. In recent years, we’ve made more and more productive visits to Japan, and this year GOG will also be represented at the Expo in Osaka.
We’re also paying close attention to what our Japanese players are saying, and we truly appreciate this interview helping raise awareness about GOG in Japan. You’d be surprised how many of us at GOG are lifelong fans of Japanese games. To this day, there’s an ongoing (and very passionate) office debate over whether Final Fantasy 6 or Final Fantasy 7 is the better game.
Adding Japanese language support and currency is a logical next step, and while our first half of 2025 was focused on expanding the GOG Preservation Program and launching the GOG One-click Mods, the second half may be a good moment to re-evaluate localization plans.
We’re especially happy that our relationships with Japanese publishers have grown significantly in recent years. If that continues, and we think it will, you can expect to see even more Japanese classics on GOG, including within the GOG Preservation Program.
After all, Poland and Japan have more in common than people think: strong cultural ties, shared values, and a deep mutual appreciation for games.
Pressure from payment processors is a game preservation issue
—How do you see the Steam and Epic Games stores? Are they competitors to GOG.com? Also, is the GOG Preservation Program intended to differentiate you from them and give you a unique advantage?
Gnyp:
We see the games industry as one big, growing family. We closely follow what Steam and the Epic Games Store are doing, and we’re genuinely excited to see the industry evolve.
At GOG, we’re focused on doing what we do best: preserving gaming history and bringing lost classics back to life. The GOG Preservation Program is a core part of that, and yes, it helps define our unique role in the ecosystem.
We believe the importance of the back catalog will only grow. Games now age more slowly; just look at The Witcher 3, released ten years ago, and it still looks and plays phenomenally well. As this trend continues, classic games become not just culturally valuable but also a long-term engine of growth.
This year, we’ve also deepened our commitment to digital heritage. We joined EFGAMP (European Federation of Game Archives, Museums and Preservation Projects), began working more closely with cultural institutions, and started sharing what we’ve learned with government and EU policymakers. Our goal: to raise awareness of what real preservation takes, and why it matters.
—Lastly, payment processors have been exerting direct or indirect pressure on video game platforms as of late, resulting in censorship of games. What is GOG’s perspective and stance on this matter?
Gnyp:
At GOG, as a platform devoted to Good Old Games and video game preservation, we see it as a game preservation issue. Every year, many games are disappearing, for various reasons. Every game that disappears from distribution is potentially lost to game preservation efforts. It is particularly worrying when games are potentially vanishing due to external pressure.
There are, of course, types of content and ideologies that are restricted or prohibited by law in certain countries. Publishers also have clear internal guidelines about the kinds of games they’re willing to support and of course, delistings happen from time to time and are impossible to avoid completely.
Importantly, unlike many other platforms, GOG is a curated storefront. That means not every game submitted to us is accepted – we select titles based on quality, relevance, and alignment with our values and audience.
—Thank you for your time.
